This open access book offers an original interdisciplinary overview of the role of haptic feedback in musical interaction. Divided into two parts, part I examines the tactile aspects of music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality and perceived quality of musical instruments. Part II presents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces. Musical Haptics introduces an emerging field that brings together engineering, human-computer interaction, applied psychology, musical aesthetics, and music performance. The latter, defined as the complex system of sensory-motor interactions between musicians and their instruments, presents a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch, all of which will inform the design of haptic musical interfaces. Tactile and proprioceptive cues enable embodied interaction and inform sophisticated control strategies that allow skilled musicians to achieve high performance and expressivity. The use of haptic feedback in digital musical interfaces is expected to enhance user experience and performance, improve accessibility for disabled persons, and provide an effective means for musical tuition and guidance.

This open access book offers an original interdisciplinary overview of the role of haptic feedback in musical interaction. Divided into two parts, part I examines the tactile aspects of music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality and perceived quality of musical instruments. Part II presents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces. Musical Haptics introduces an emerging field that brings together engineering, human-computer interaction, applied psychology, musical aesthetics, and music performance. The latter, defined as the complex system of sensory-motor interactions between musicians and their instruments, presents a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch, all of which will inform the design of haptic musical interfaces. Tactile and proprioceptive cues enable embodied interaction and inform sophisticated control strategies that allow skilled musicians to achieve high performance and expressivity. The use of haptic feedback in digital musical interfaces is expected to enhance user experience and performance, improve accessibility for disabled persons, and provide an effective means for musical tuition and guidance.

This book constitutes the refereed proceedings of the 11th International Conference on Haptic and Audio Interaction Design, HAID 2022, held in London, UK, in August 2022. The 13 full papers presented were carefully reviewed and selected from 19 submissions that were sent for peer review. The papers are organized in topical sections on accessibility, perception, design and applications, and musical applications.

Il Sassoferrato: Devout Beauty reconstructs, for the first time, the creative process of Giovan Battista Salvi, known as Sassoferrato (1609-85), from drawing to finished work. Living in Baroque-era Rome but keeping his distance from contemporary trends, Sassoferrato worked in the spirit of a craftsman, creating devotional images for the Counter-Reformation market with such pure intensity that he earned himself the title "pictor virginum." The studies presented in this volume examine how Sassoferrato developed his sparse, archaizing style, the patrons he served and the extent of his influence in the artistic debates of the 19th century (favored by the Purists and Nazarenes and critiqued by John Ruskin, Sassoferrato's pictures found new life). Il Sassoferrato charts the painter's trajectory and his forging, via the example of Raphael, of a unique style as far removed from Baroque theatricality as it was from Caravaggio-esque naturalism.